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In Collaboration with THINGS.) THIS SAMPLE OF A PROGRAM AND PROGRAM NOTES SHOWCASES THE ACTUAL GRADUATE RECITAL OF ALUMNUS NICHOLAS TOZZO. THE FORMAT OF THE PROGRAM IS CONSISTENT WITH THE CURRENT REQUIREMENTS OF THE SCHOOL OF MUSIC. THE SELECTIONS FEATURE MR. TOZZO AS PERFORMER IN SEVERAL PERCUSSION INSTRUMENTS, AND AS ARRANGER AND ENSEMBLE DIRECTOR IN MOST SELECTIONS. GRADUATE RECITAL MR. TOZZO’S PROGRAM NOTES ARE ALSO AN EXCELLENT EXAMPLE OF WHAT THIS ASPECT OF YOUR PROGRAM IS EXPECTED TO PROVIDE. NICHOLAS TOZZO GIVE YOUR AUDIENCE BRIEF BUT MEANINGFUL CONTEXT FOR THE ATIN USIC TUDIES SELECTION (GENRE FUNDAMENTALS FOR THOSE GENRES WITH L M S WHICH YOUR AUDIENCE MAY BE UNFAMILIAR, COMPOSER AND DETAILS OF ORIGINAL RECORDING AS APPLICABLE, AMONG OTHER in collaboration with THINGS.). ALSO HELP YOUR AUDIENCE UNDERSTAND HOW YOU JERRY ESPINOZA, TENOR SAXOPHONE HAVE ADAPTED OR ARRANGED THE SELECTION FOR THIS PARTICULAR OCCASION, AND WHAT YOUR CREATIVE CONTRIBUTION LOUIE PEREIRA, PERCUSSION IS. IF YOU ARE FEATURING YOUR ORIGINAL COMPOSITIONS, GIVE DREW SAENZ, PERCUSSION YOUR LISTENERS A FEW MARKERS TO GUIDE THEM THROUGH YOUR MUSICAL CREATIONS. JUAN CAVAZOS, PERCUSSION FRANCISCO CANO, PIANO ALL IN ALL, PROGRAM NOTES SHOULD BE BRIEF, FOCUSED, AND GEARED TOWARD ENHANCING THE AUDIENCE’S UNDERSTANDING OF BENJAMIN TRIESCH, BASS YOUR CONTRIBUTION TO THE BODY OF REPERTOIRE IN LATIN MUSIC. CHRIS LIPPKE, CONGAS NICK CHACON, DRUMS SALSA DEL RIO SATURDAY, JANUARY 24, 2015 PERFORMING ARTS CENTER RECITAL HALL 6 P.M. P R O G R A M Caravan Juan Tizol Mambo Influenciado Jesús “Chucho” Valdés (1900-1984) (b. 1941) Arr. Nick Tozzo Arr. Nick Tozzo Jerry Espinoza, tenor saxophone Jerry Espinoza, tenor saxophone Frank Cano, piano Benjamin Triesch, bass Cumbia Tradicional Arr. Nick Tozzo Chris Lippke, congas Nick Chacon, drums Louie Pereira, tambora Drew Saenz, llamador Juan Cavazos, maraca I N T E R M I S S I O N Mi Buenaventura Petronio Álvarez Quintero No Estas En Na’ Calambuco-Andrés Succar (1914-1966) (2010) Arr. Baudilio Guama/Nick Tozzo Arr. Juan Cavazos/Nick Tozzo Louie Pereira, bombo Drew Saenz, cununo La Rumba Buena La 33-Diego Fernando Sanchez Juan Cavazos, guasá (2008) Arr. Mike and Amy Torres III From Within Michel Camilo (b. 1954) En Barranquilla Me Quedo Joe Arroyo Arr. Nick Tozzo (1988) As played by Joe Arroyo Benjamin Triesch, bass Nick Chacon, drums Salsa Del Rio Gdansk Paquito D’Rivera (b. 1948) Arr. Nick Tozzo Jerry Espinoza, tenor saxophone Presented in partial fulfillment of Frank Cano, piano requirements for the Master of Music degree Benjamin Triesch, bass Chris Lippke, congas N O T E S Nick Chacon, drums Caravan (1936) - Juan Tizol while the percussion section accompanies me on the guasá (cylindrical shaker), the cununo (hand drum), and the bombo (bass “Caravan” is a jazz standard composed by Puerto Rican valve- drum). trombonist Juan Tizol while he was a member of Duke Ellington’s jazz orchestra. The first recording of the song was done in 1936 by From Within (1993) - Michel Camilo Barney Bigard and his Jazzopaters, which was a scaled-down version of the Ellington band. Tizol was a pioneer of modal jazz Dominican Latin jazz pianist Michel Camilo composed “From and brought many Latin influences to the Ellington band, with Within” for his 1993 album Rendezvous, on which he collaborated many of his compositions stemming from his experiences learning with bassist Anthony Jackson and drummer Dave Weckl. “From music in Puerto Rico. “Caravan” has been recorded thousands of Within” has since been recorded by him many different ways, times by jazz and Latin artist throughout the years, with over three including a very famous rendition done as Camilo’s contribution to hundred and fifty of those being by the Duke Ellington Orchestra Oscar winning director Fernando Trueba’s 2001 Latin music alone. In my arrangement, I use the melody and form of “Caravan” documentary Calle 54, which featured many famous Latin music as a backdrop to my conga solo. artists each performing a signature work. I did this arrangement that features the melody done on vibraphone instead of the piano. Cumbia Tradicional After playing through the head and solo section, there is a montuno section that features a drumset solo. The Cumbia is a style of music from the Atlantic/Caribbean coast of Colombia. While the Cumbia has been used and implemented in Gdansk (1984) - Paquito D’Rivera many different musical genres, it is traditionally performed just with percussion, sometimes along with voices and wooden flutes, “Gdansk” is a Latin/Funk song off of Paquito D’Rivera’s 1984 called gaitas. The percussion of the cumbia consists of the hand- album Why Not. Cuban born D’Rivera is the winner of fourteen held llamador, the tambora played with sticks, the maracon, and GRAMMY Awards, a founding member of the iconic Cuban band the soloistic tambor alegre. This arrangement demonstrates the Irakere, and he also put out more than 30 solo albums. In addition solo voice of the tambor alegre at three different tempi. I play the to being revered for his talents as a woodwind player, he is world- solos on the tambor alegre, and I also initiate the calls and renowned for his compositional style which has blended responses the start and end each section. everything from Western Classical to Afro-Cuban to Rock, Jazz, and Funk. Here I solo both on vibes and on the “double second” Mi Buenaventura (1952) - Petronio Alvarez Quintero steel drums. The Currulao is a folkloric Colombian music from the country’s Mambo Influenciado (1976) - Jesús “Chucho” Valdés Pacific coast that incorporates the marimba de chonta (a marimba made from palm and bamboo), voices, woodwinds, and several “Chucho” Valdés, son of famous Cuban bandleader Bebo Valdés, drums. “Mi Buenaventura” was written by one of the most graduated from the Municipal Music Conservatory of Havana at influential early Currulao artists and composers, Petronio Alvarez age 14. After that, he formed his own jazz trio and began an Quintero. It was first recorded by Tito Cortés Y Los Trovadores illustrious career of performance and composition that continues to De Barú. This instrumental arrangement was played by Baudillio this day. “Mambo Influenciado” is off his 1976 album Piano I, Guama, a well-known artist and instrument maker from the Pacific from the Cuban record label Areito. “Mambo Influenciado” blends coastal region of Colombia. I play the melody on the marimba Afro-Cuban rhythms with jazz harmonies, which was part of his signature style. Valdés also later co-founded the Cuban group En Barranquilla Me Quedo (1988) - Joe Arroyo Irakere, along with Paquito D’Rivera and Arturo Sandoval. After the melodic instruments solo through the changes, I added a vamp Álvaro José Arroyo González, known as the great Joe Arroyo, was to this arrangement for the conga player to solo over. born in the Colombian port city of Cartagena in 1955. He grew up singing in various local bands in a variety of different Colombian and Caribbean styles. In 1971, he was discovered by Julio Ernesto Estrada, the bassist and director of recently-formed Colombian INTERMISSION band Fruko Y Sus Tesos. Joe Arroyo’s skill at blending his many different musical styles contributed to the meteoric success of Fruko Y Sus Tesos. However, ten years later Arroyo would go on to start his own band, La Verdad. His 1988 album Fuego En Mi No Estas En Na’ (2009) - Calambuco Mente had “En Barranquilla Me Quedo” as its second track, and was a big hit for the band. Ordinarily, this song is performed with a Calambuco originated in Cali, Colombia, performing there for piano solo, but I will instead take a timbal solo. several years before relocating to Bogotá. This group of young musicians preferred a hard-hitting, street-style salsa and their lyrical content frequently harks to their neighborhoods, streets, and life. “No Estas En Na” is the portrait of a working salsa singer whose girlfriend is trying to get him to give up the life of a musician. Calambuco operated as a sonora, which is a salsa band where the only horns are trumpets, thus allowing for a bright, metallic sound which is conducive to the high energy sound these young musicians wanted to produce. In addition to taking a bongo solo, I also use the campana for lengthy improvisational fills. La Rumba Buena (2008) - La 33 Bogotá salsa band La 33 was founded in 2002 by two brothers, bassist Sergio Mejia and pianist Santiago Mejia. Their critically acclaimed first album brought the band international recognition from their salsa rendition of the “Pink Panther” theme song, which they entitled “La Pantera Mambo.” The band put out their second album Gózalo in 2008, which included “La Rumba Buena”. On this high-energy song, I take a conga solo. .
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